DOCSLIB.ORG

あゆみ Hamasaki Ayumi—Source of Strength for Young People Searching for a Place of Their Own

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
あゆみ Hamasaki Ayumi—Source of Strength for Young People Searching for a Place of Their Own The Japan Forum Newsletter No. 24 March 2002 Japanese Culture Now はまさき 浜崎あゆみ Hamasaki Ayumi—Source of strength for young people searching for a place of their own Hamasaki Ayumi (23) sold strength and solace they more CDs than any other offer. You can tell that the popular singer in the year adults in their lives aren’t of- 2001. Known as “ayu,” she is fering any support or ad- tremendously popular with vice—even moralistic—that young people. Until recently, really resonates in their her image was strongest as a hearts.” She continues to fashion icon of teenage girls, offer hope and companion- but today her popularity is ship to those frustrated by growing across a wider stra- what they feel is a world with tum—men and women in their twenties and thirties. no future, to those who can- Hamasaki writes her own lyrics, lyrics that express an not see where they belong. image of herself that is true to life. Her songs speak of Photo: Hongo Jin heartache, loneliness and despair, the importance of accepting Data■Ranking of Total CD Sales (singles + albums) by Artist and believing in ourselves just as we are, seeing failure in love Oricon Survey 12/4/2000-11/26/2001 as energy to go forward, and offering the encouragement that Rank Artist Total Sales (yen) “I (ayu) am right here with you.” 1 浜崎あゆみ [Hamasaki Ayumi] 24,370,000,000 2 宇多田ヒカル [Utada Hikaru] 15,830,000,000 In an article in the Asahi Shimbun newspaper on June 2, 3 GLAY 10,860,000,000 2001, copywriter Maeda Tomomi noted, “Today’s younger 4 Mr. Children 10,810,000,000 generation suffers from a real thirst for words—they’re des- 5 サザンオールスターズ [Southern All-Stars] 10,320,000,000 6 モーニング娘。 [Morning Musume] 8,980,000,000 perately seeking words with the power to rescue them. Many 7 SMAP 8,330,000,000 teenagers shed tears of relief when they hear songs like those 8 CHEMISTRY 7,560,000,000 of Hamasaki Ayumi—whose lyrics are embarrassingly 9 ゴスペラーズ [Gospelers] 7,060,000,000 10 MISIA 6,480,000,000 straightforward for anyone of my age—grasping for the ♪ A Song for XX This song has special meaning for Hamasaki. She sings of a past self, at a point when she could not accept herself because of the complex situation sur- rounding her parents’ divorce. “ayu had cut herself off from everything, shut up behind walls in every direction,” she recalls in a magazine interview, “That I could write and sing such a song made it possible for me to move forward.” 居場所（いばしょ）がなかった 見（み）つからなかった There was no place for me. I couldn’t find it anywhere, 未来（みらい）には期待（きたい）出来（でき）るのか分（わ）からずに Unsure I could even count on the future. 人（ひと）を信（しん）じる 事（こと）って いつか裏切（うらぎ）られ Believing in someone only meant betrayal in the end; はねつけられることと同（おな）じと思（おも）っていたよ only meant rejection someday. いつも強（つよ）い子（こ）だねって 言（い）われ続（つづ）けてた They kept on saying, “What a brave kid you are!” 泣（な）かないで偉（えら）いねって 褒（ほ）められたりしていたよ They kept praising: “How strong you are, not to cry!” そんな風（ふう）に周（まわ）りが言えば言う程（ほど）に And the more they said these things, 笑（わら）うことさえ苦痛（くつう）になってた The more even smiling was agony. 一人（ひとり）きりで生（う）まれて 一人きりで生（い）きていく I used to think I was born all alone and would go through life on my own きっとそんな毎日（まいにち）が 当（あた）り前（まえ）と思ってた I thought every day would be that way. ♪To Be “When I stopped to think about what hopes I really cherished, I realized I was holding out hope for people other than me, in other words for the exis- tence of humanity itself. The “you” in this song refers to such people,” she explained in the interview. 誰（だれ）もが通（とお ）り過（す）ぎてく Everyone just passed by, 気（き）にも止（と）めない どうしようもない They didn’t even notice, this hopeless thing, そんなガラクタを 大切（たいせつ）そうに抱（かか）えていた But you clutched me tightly to you. 周（まわ）りは不思議（ふしぎ）なカオで 少（すこ）し離（はな）れた場所（ばしょ）から見（み）てた People stared from a distance, looking puzzled. それでも笑（わら）って 言（い）ってくれた“宝物（たからもの）だ”と But you’d laugh and exclaim, “My treasure!” ガラクタを守（まも）り続（つづ）ける腕（うで）はどんなに痛（いた）かったことだろう How painful it was to protect this, 何（なに）を犠牲（ぎせい）にしてきたの だろう What have you sacrificed for my sake? 決（けっ）してキレイな人間（マル／にんげん）にはなれないけどね I can’t become pure, いびつに輝（かがや）くよ But I’ll shine in my own special way. 君（きみ）がいたから どんな時（とき）も笑ってたよ ‘Cause you were there, I could laugh at anything. 君がいたから どんな時も 笑ってたよ ‘Cause you were there, I could laugh at anything. 泣（な）いていたよ 生（い）きていたよ I could cry. I was really living. 君がいなきゃ何もなかった Without you, there would have been nothing. JASRAC 出0112795-101 14.
Load more

Recommended publications
  • WHAT SOILS ARE 17 Ries Within Itself a Record of Its History for Those Who Learn to Read It
    WHAT SOILS ARE 17 ries within itself a record of its history for those who learn to read it. A SOIL PROFILE consists of two or What Soils more layers lying one below the other and parallel to the land surface. The layers are known as horizons. The Are horizons dififer in one or more prop- erties such as color, texture, structure, Roy W. SImonson consistence, porosity, and reaction. Soil horizons may be thick or thin. Soil is continuous over the land Some are no more than a fraction of an inch. Others are several feet thick. surface of the earth, except for Few horizons are at either extreme. the steep and rugged mountain Generally they merge with one an- other and lack sharp boundaries. peaks and the lands of per- Horizons in a profile are like the petual ice and snow. parts of a layer cake without the clear bands of frosting between them. Soil is related to the earth much as Most soil profiles include three mas- the rind is related to an orange. But ter horizons, identified by the letters this rind of the earth is far less uniform A, B, and G. Some soils lack a B hori- than the rind of an orange. It is deep zon and are said to have AG profiles. in some places and shallow in others. When a soil is used without proper It may be red, as soils are in Hawaii, care, the A horizon and even the B or it may be black, as they are in North horizon may be eroded away.
    [Show full text]
  • Hayashi Fumiko: the Writer and Her Works
    University at Albany, State University of New York Scholars Archive East Asian Studies Faculty Scholarship East Asian Studies 1994 Hayashi Fumiko: The Writer and Her Works Susanna Fessler PhD University at Albany, State University of New York, [email protected] Follow this and additional works at: https://scholarsarchive.library.albany.edu/eas_fac_scholar Part of the Japanese Studies Commons Recommended Citation Fessler, Susanna PhD, "Hayashi Fumiko: The Writer and Her Works" (1994). East Asian Studies Faculty Scholarship. 13. https://scholarsarchive.library.albany.edu/eas_fac_scholar/13 This Dissertation is brought to you for free and open access by the East Asian Studies at Scholars Archive. It has been accepted for inclusion in East Asian Studies Faculty Scholarship by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. Hie quality of this reproduction is dependent upon the qualify of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Song Lyrics of the 1950S
    Song Lyrics of the 1950s 1951 C’mon a my house by Rosemary Clooney Because of you by Tony Bennett Come on-a my house my house, I’m gonna give Because of you you candy Because of you, Come on-a my house, my house, I’m gonna give a There's a song in my heart. you Apple a plum and apricot-a too eh Because of you, Come on-a my house, my house a come on My romance had its start. Come on-a my house, my house a come on Come on-a my house, my house I’m gonna give a Because of you, you The sun will shine. Figs and dates and grapes and cakes eh The moon and stars will say you're Come on-a my house, my house a come on mine, Come on-a my house, my house a come on Come on-a my house, my house, I’m gonna give Forever and never to part. you candy Come on-a my house, my house, I’m gonna give I only live for your love and your kiss. you everything It's paradise to be near you like this. Because of you, (instrumental interlude) My life is now worthwhile, And I can smile, Come on-a my house my house, I’m gonna give you Christmas tree Because of you. Come on-a my house, my house, I’m gonna give you Because of you, Marriage ring and a pomegranate too ah There's a song in my heart.
    [Show full text]
  • In John's Gospel
    John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Winter 2016 A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL Patrick Sullivan John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the Biblical Studies Commons Recommended Citation Sullivan, Patrick, "A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL" (2016). Masters Essays. 56. http://collected.jcu.edu/mastersessays/56 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. A STUDY OF “BELIEVING” AND “LOVE” IN JOHN’S GOSPEL An Essay Submitted to The Office of Graduate Studies College of Arts and Sciences John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Patrick Sullivan 2016 The essay of Patrick Sullivan is hereby accepted: ________________________________________ ____________________ Advisor — Dr. Sheila E. McGinn Date I certify that this is the original document ________________________________________ ___________________________ Author — Patrick Sullivan Date If one reads the Gospel of John through a contemplative lens one can discern a very useful dynamic interplay between the evangelist’s treatment of the words “believe” and “love.” This paper will investigate this dynamic. It will begin by identifying the relevant perspectives that a contemplative brings into an encounter with scripture. After this, there will be a short section exploring John’s use of the word love, and how this understanding of love is uniquely useful to the contemplative.
    [Show full text]
  • Francis Poulenc and Surrealism
    Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof.
    [Show full text]
  • RIAJ Yearbook 2018 1 Overview of Production of Recordings and Digital Music Sales in 2017
    Statistics RIAJ YEARBOOK Trends 2018 The Recording Industry in Japan 2018 Contents Overview of Production of Recordings and Digital Music Sales in 2017 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital
    [Show full text]
  • View Annual Report
    2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes.
    [Show full text]
  • “PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
    TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan.
    [Show full text]
  • Mixed-Layer Glay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region
    Mixed-Layer Glay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region GEOLOGICAL SURVEY PROFESSIONAL PAPER 1064-A Mixed-Layer Clay in the Pierre Shale and Equivalent Rocks, Northern Great Plains Region By LEONARD G. SCHULTZ GEOCHEMISTRY OF THE PIERRE SHALE AND EQUIVALENT ROCKS OF LATE CRETACEOUS AGE GEOLOGICAL SURVEY PROFESSIONAL PAPER 1064-A X-ray diffraction techniques for interpretation of mixed-layer illite-smectite clay, chemical composition of the clay, and developmental history of the clay UNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON : 1978 UNITED STATES DEPARTMENT OF THE INTERIOR CECIL D. ANDRUS, Secretary GEOLOGICAL SURVEY H. William Menard, Director Library of Congress Cataloging in Publication Data Schultz, Leonard Gene, 1926- Mixed-layer clay in the Pierre Shale and equivalent rocks, northern Great Plains region. (Geochemistry of the Pierre Shale and equivalent rocks, northern Great Plains) (Geological Survey Professional Paper 1064-A) Bibliography: p. 27 1. Clay minerals Great Plains. 2. Geology, Stratigraphic Cretaceous. I. Title. II. Series. III. Series: United States Geological Survey Professional Paper 1064-A. QE389.625.S3 552'.5 77-26718 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 Stock Number 024-001-03115-9 CONTENTS Page Page Abstract ........................................................................................ 1 Chemistry of mixed-layer clays Continued Introduction .................................................................................
    [Show full text]
  • The Recording Industry in Japan 2005
    RIAJ Yearbook 2005 The Recording Industry in Japan English Edition 2005 Statistics Analysis Trends CONTENTS Overview of Production of Recordings in 2004 ..................................1 Production Statistics by Format (Unit Basis•Value Basis) ............2 1. Total Recorded Music — Unit Basis......................................................................2 2. Total Audio Recordings — Unit Basis ..................................................................2 3. Total CDs — Unit Basis ........................................................................................2 4. Total Recorded Music — Value Basis....................................................................3 5. Total Audio Recordings — Value Basis ................................................................3 6. Total CDs — Value Basis......................................................................................3 7. CD Singles — Unit Basis ......................................................................................4 8. 5" CD Albums — Unit Basis ................................................................................4 0. Reference 1. Video Recordings — Unit Basis ................................................................4 9. CD Singles — Value Basis....................................................................................5 10. 5" CD Albums — Value Basis ..............................................................................5 0. Reference 2. Video Recordings — Value Basis ..............................................................5
    [Show full text]
  • SPRING 2021 Our “Lower Mountain” Vineyard Block in 1993
    #ONERANCHTWOCOUNTIES SPRING 2021 our “Lower Mountain” vineyard block in 1993. Our cuttings came from Joseph Phelps, whose cuttings came from the original La Jota suitcase clones. It’s OG Condrieu material. Some California producers will tell you that Napa is too warm for Viognier. Indeed, those first pioneers at La Jota and Ritchie Creek no longer produce the wine. But at Pride, we're all in. We can do this because of our dynamic terroir. Those south-facing "Lower Mountain" vines planted in 1993 provide the mid-palate of our estate Viognier. They produce a dense, oily, and textured wine. Finding success with the variety on our mountaintop, in 1999, Jim planted an additional 2.29 acres in our "North Terraces" block. As the name indicates, these vines are not only on the Northern part of our property, but they are also north-facing. This allows the grapes to ripen slowly while retaining the acids that PRESENTING Viognier is so quick to give up. The juice from this vineyard is vibrant, lifted, and floral. This past winter (2020), Steve 2020 viognier Pride added 3.1 acres of vines when replanting the "Wind Whistle" vineyard. When these vines mature, we anticipate that their east- and north-facing orientation, partially shaded While Pride’s mountaintop estate is revered for our red wines, by Douglas fir trees, will contribute perfectly balanced grapes our sumptuous and elegant white wines garner their fair to the estate blend. share of praise from those in the know. We understand why members of the trade may not be aware of our textured and There is another reason Pride is able to continue to craft vibrant whites - globally, a mere 150 cases of Viognier and what has become one of the most recognized new world 400 cases of Chardonnay make it into the trade each year.
    [Show full text]
  • A Multi-Dimensional Study of the Emotion in Current Japanese Popular Music
    Acoust. Sci. & Tech. 34, 3 (2013) #2013 The Acoustical Society of Japan PAPER A multi-dimensional study of the emotion in current Japanese popular music Ryo Yonedaà and Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology, 7–1 Ohgigaoka, Nonoich, 921–8501 Japan ( Received 22 March 2012, Accepted for publication 5 September 2012 ) Abstract: Musical psychologists illustrated musical emotion with various numbers of dimensions ranging from two to eight. Most of them concentrated on classical music. Only a few researchers studied emotion in popular music, but the number of pieces they used was very small. In the present study, perceptual experiments were conducted using large sets of popular pieces. In Experiment 1, ten listeners rated musical emotion for 50 J-POP pieces using 17 SD scales. The results of factor analysis showed that the emotional space was constructed by three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity.’’ In Experiment 2, three musicians and eight non-musicians rated musical emotion for 169 popular pieces. The set of pieces included not only J-POP tunes but also Enka and western popular tunes. The listeners also rated the suitability for several listening situations. The results of factor analysis showed that the emotional space for the 169 pieces was spanned by the three factors, ‘‘evaluation,’’ ‘‘potency’’ and ‘‘activity,’’ again. The results of multiple-regression analyses suggested that the listeners like to listen to a ‘‘beautiful’’ tune with their lovers and a ‘‘powerful’’ and ‘‘active’’ tune in a situation where people were around them. Keywords: Musical emotion, Popular music, J-POP, Semantic differential method, Factor analysis PACS number: 43.75.Cd [doi:10.1250/ast.34.166] ‘‘activity’’ [3].
    [Show full text]